Product Photography Quotes

A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetise the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats. The camera's twin capacities, to subjectivise reality and to objectify it, ideally serve these needs as strengthen them. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). The production of images also furnishes a ruling ideology. Social change is replaced by a change in images. The freedom to consume a plurality of images and goods is equated with freedom itself. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.

Some stories, some visions, demand celluloid film and what it can deliver.

Photojournalism has frequently been lambasted for being the product of circumstance. In fact rarely are any of these images considered in terms of their composition and semantic intent. They are merely news, a happy intersection of event and opportunity. It hardly helps that photographs in general also take only a fraction of a second to acquire. It is incredible how so many people can constantly misread speed to mean ease. This is certainly most common where photography is concerned. However simply because anyone can buy a camera, shutter away, and then with a slightly prejudiced eye justify the product does not validate the achievement. Shooting a target with a rifle is accomplished with similar speed and yet because the results are so objective no one suggests that marksmanship is easy.

A capitalist society requires a culture based on images. It needs to furnish vast amounts of entertainment in order to stimulate buying and anesthetize the injuries of class, race, and sex. And it needs to gather unlimited amounts of information, the better to exploit natural resources, increase productivity, keep order, make war, give jobs to bureaucrats.

A good description of photography necessitates that one treat it as an essence unto itself; not as an event either of the World or of philosophy, or as a syncretic sub-product of modern science and technology; that one recognize the existence, not just of a photographic art, but of an authentic photographic thought; the existence, beyond the components of technology and image production, of a certain specific relation to the real, one which knows itself as such.

The physical board had a huge psychological effect compared to anything we got from the electronic tracking tool we used at Microsoft. By attending the standup each day, team members were exposed to a sort of time-lapse photography of the flow of work across the board. Blocked work items were marked with pink tickets, and the team became much more focused on issue resolution and maintaining flow. Productivity jumped dramatically.

Anyway, I have a new theory. Would you like to hear it? Ignore this paragraph if not. My theory is that human beings lost the instinct for beauty in 1976, when plastics became the most widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way. One thing a government could do with my approval (and there aren’t many) would be to prohibit the production of each and every form of plastic not urgently necessary for the maintenance of human life. What do you think?

Harman was right: those pictures were worse. But, leaving aside the fact that photographs of death and nudity, however newsworthy, don't get much play in the press, the power of an image does not necessarily reside in what it depicts. A photograph of a mangled cadaver, or of a naked man trussed in torment, can shock and outrage, provoke protest and investigation, but it leaves little to the imagination. It may be rich in practical information while being devoid of any broader meaning. To the extent that it represents any circumstances or conditions beyond itself, it does so generically. Such photographs are repellent in large part because they have a terrible reductive sameness. Except from a forensic point of view, they are unambiguous, and have the quality of pornography. They are what they show, nothing more. They communicate no vision and, shorn of context, they offer little, if anything, to think about, no occasion for wonder. They have no value as symbols. Of course, the dominant symbol of Western civilization is the figure of a nearly naked man being tortured to death⁠—or more simply, the torture implement itself, the cross. But our pictures of Christ's savage death are the product of religious imagination and idealization. In reality, with his battered flesh scabbed and bleeding and bloated and discolored beneath the pitiless Judean desert sun, he must have been ghastly to behold. Had there been cameras at Calvary, would twenty centuries of believers have been moved to hang photographs of the scene on their altarpieces and in their homes, or to wear an icon of a man being executed around their necks as as an emblem of peace and hope and human fellowship? Photography is too frank to allow for the notion of suffering as noble and ennobling...

Now give me some advice about how to take full advantage of this city. I’m always looking to improve my odds.” “Just what I’d expect from a horny actuary.” “I’m serious.” Carlos reflected for a moment on the problem at hand. He actually had never needed or tried to take full advantage of the city in order to meet women, but he thought about all of his friends who regularly did. His face lit up as he thought of some helpful advice: “Get into the arts.” “The arts?” “Yeah.” “But I’m not artistic.” “It doesn’t matter. Many women are into the arts. Theater. Painting. Dance. They love that stuff.” “You want me to get into dance? Earthquakes have better rhythm than me…And can you really picture me in those tights?” “Take an art history class. Learn photography. Get involved in a play or an independent film production. Get artsy, Sammy. I’m telling you, the senoritas dig that stuff.” “Really?” “Yeah. You need to sign up for a bunch of artistic activities. But you can’t let on that it’s all just a pretext to meet women. You have to take a real interest in the subject or they’ll quickly sniff out your game.” “I don’t know…It’s all so foreign to me…I don’t know the first thing about being artistic.” “Heeb, this is the time to expand your horizons. And you’re in the perfect city to do it. New York is all about reinventing yourself. Get out of your comfort zones. Become more of a Renaissance man. That’s much more interesting to women.

Self-Obsession & Self-Presentation on Social-Media" Some people always post their cars/bikes photos because they love their cars/bikes so much. Some people always post their dogs/cats/birds/fish/pets photos because they love their pets so much. Some people always post their children’s/families photos because they love their children/families so much. Some people always post their daily happy/sad moments because they love sharing their daily lives so much. Some people always post their poems/songs/novels/writings because they love being poets/lyricists/novelists/writers so much. Some people always copy paste other people’s writings/quotes without mentioning the actual writers name because they love seeking attention/fame so much. [Unacceptable & Illegal] Some people always post their plants/garden’s photos because they love planting/gardening so much. Some people always post their art/paintings because they love their creativity so much. Some people always post their home-made food because they love cooking/thoughtful-presentation so much. Some people always post their makeup/hairstyles selfies because they love wearing makeup/doing hair so much. Some people always post their party related photos because they love those parties so much. Some people always post their travel related photos because they love traveling so much. Some people always post their selfies because they love taking selfies so much. Some people always post restaurant/street-foods because they love eating in restaurants/streets so much. Some people always post their job-related photos because they love their jobs so much. Some people always post religious things because they love spreading their religion so much. Some people always post political things because they love politics/power so much. Some people always post inspirational messages because they love being spiritual. Some people always share others posts because they love sharing links so much. Some people always post their creative photographs because they love photography so much. Some people always post their business-related products because they love advertising so much. And some people always post complaints about other people’s post because they love complaining so much

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Every other artist begins with a blank canvas, a piece of paper. the photographer begins with the finished product

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J’ai déjà dit que la Communauté juive s’était chargée de recruter les travailleurs pour le service obligatoire afin d’épargner à la population la terreur des rafles. Chaque jour, les autorités allemandes lui communiquaient les instructions concernant le nombre d’hommes à fournir et le lieux où ceux-ci devaient se rendre. La Communauté envoyait des convocations aux personnes désignées. Ces billets indiquaient la date de la prestation et portaient l’avertissement suivant : les requis qui ne se présenteraient pas seraient signalés immédiatement à la police et sévèrement punis. Les rassemblements se faisaient à six heures du matin devant l’immeuble de la Communauté ou place Grzybow. Des chefs d’équipe permanents inscrivaient les ouvriers et les accompagnaient sur les chantiers sous la garde de soldats allemands. En décembre 1939, une nouvelle ordonnance obligea tous les Juifs de sexe masculin, âgés de douze à soixante ans, à se faire procéder à leur enregistrement. Tout homme inscrit reçut une carte portant sa photographie et mentionnant son identité, sa profession, ses occupations. Chaque mois, il lui fallait faire timbrer cette carte au bureau de la Communauté. Celui qui exerçait un travail régulier devait, en outre, verser au moins 20 zlotys à chaque vérification de sa fiche. Grâce à cette taxe, il était plus ou moins assuré de travailler à l’intérieur de la ville. Les Juifs sans emploi étaient portés sur la liste des « bataillons de travailleurs » envoyés, en général, dans des camps, à l’extérieur de la ville ; ils subissaient là l’enfer de l’esclavage, des souffrances morales et physiques ainsi que les pires humiliations. Ces bataillons de travailleurs étaient habituellement chargés de la construction des routes, de l’élargissement et de la consolidation des berges de la Vistule. Ils travaillaient comme de véritables bagnards. Des milliers d’entre eux ne revinrent jamais. Lorsqu’un requis n’obéissait pas à la convocation, la police arrêtait une personne de son entourage - souvent un malade ou un vieillard. Le ghetto faisait partie intégrante du mécanisme économique de l’appareil de guerre nazi. Des Allemands, comme Tebenz, mirent sur pied dans le ghetto même de gigantesques fabriques où l’on confectionna des vêtements militaires et civils dans les étoffes d’excellente qualité volées par les Allemands dans toute la Pologne. Un Allemand de Dantzig, Shulz, qui avant la guerre traitait des affaires avec des Juifs polonais, ouvrit rue Nowolipie plusieurs ateliers où l’on travailla le cuir et la fourrure. Leszczinsky, un Polonais, monta rue Ogrodowa de vastes ateliers d’habillement. Une société commerciale composée d’Allemands, de Volksdeutschen, de Polonais et de Juifs entreprit la fabrication d’articles de brosserie. La matière première fut fournie par les autorités allemandes. La production était utilisée généralement pour les besoins militaires et, peut-être, en partie, pour satisfaire la demande de milieux privés ayant quelque attache avec l’armée. Dans ces usines ne travaillèrent que des Juifs du ghetto. Leur nombre atteignit plusieurs dizaines de milliers. Chez Tebenz les effectifs, au début de 1943, dépassèrent quinze mille ouvriers. Leur salaire était infime. Chaque ouvrier avait droit à deux litres de soupe par jour au prix de 60 à 70 groschen ; sa condition était celle d’un esclave.

It is easy to underrate how long it takes to implement a new idea. Researchers estimate that it takes 30 years for a groundbreaking development to progress from initial idea to a commercially viable product. Middle management often extols the value of short-term strategies that react to market circumstances. Kodak used short-term strategies to keep its analogue photography business going. But the expression 'short-term strategy' is in fact an oxymoron, because trying to reach short-term goals is not strategic by definition.

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During this period, the Jew embodied the abstraction of the modern world dominated by impersonal and anonymous forces. Mass society was perceived as a hostile realm shaped by big cities, the market, finance, the speed of communications and exchange, mechanical production, the press, cosmopolitanism, democratic egalitarianism, culture transformed into an industry by way of the press, photography and the cinema. Amid this upheaval, the Jew emerged as personification of a modernity in which everything was measurable, calculable and yet impossible to grasp, in which everything was removed from nature and annexed to the enigmas of an abstract and artificial rationality. As shown by a

While digitization has obviously increased the quantity and convenience of photography, it has also profoundly changed the economics of photography production and distribution. A team of just fifteen people at Instagram created a simple app that over 130 million customers use to share some sixteen billion photos (and counting).5 Within fifteen months of its founding, the company was sold for over $1 billion to Facebook. In turn, Facebook itself reached one billion users in 2012. It had about 4,600 employees6 including barely 1,000 engineers.

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Better move aside, Shell. You're right where the oil should come out. Not connected to a line, so we'll just let her flow a bit." I moved aside. He freed the valve, then turned it by hand. At first it was just a trickle, then it gushed. Ed spun the valve and stepped back with a whoop, and on his face was the expression of a man looking on something he loves. "Baby, baby," he yelled, "there she goes." Oil, thick and black, spurted from the pipe like black blood from a cut artery. It streamed from the Christmas tree and spread on the ground, running in a thick river away from us down a shallow furrow in the earth. And a queer feeling gripped me. I knew, then, that until this moment I hadn't really believed it. I'd just sort of gone on faith to here, but now I could see it, touch it, smell it. Oil. Oil, growling up from deep in the earth, pushed by Nature's gases, and for one brief moment of brighter awareness I could see it, refined, split, joining in new chemical compounds — in cars, generators, lamps, diesels; driving engines and smoothing bearings; in hundreds of products with thousands of uses, from farming to photography, plastics, medicines . . . And there all the time for the man with faith enough and strength enough to find it and seize it.

For their sake, I pretend to love all of it—the fuss and the huge production and everything—but it’s slowly eroding what I love about photography. For months now, I’ve toyed with the idea of leaving the wedding business, of going back to what I love about photography—to be able to take my time, play around with different lenses and lighting and angles instead of rushing to take photo after photo of the same stuff. Not that I can ever reveal any of this to my family.

Again, I violated venture-capital rules, bringing in as new CEO a friend and former LEK consultant, Robin Field, who had no experience in Filofax’s industry (we look at LEK Consulting below). His mission, I said, was to make Filofax a star again and slash costs. Apart from that, I told him, I had no idea what to do. Robin found that the product line had expanded beyond all control. ‘The same basic binder,’ he said, ‘was available in a bewildering variety of sizes and huge assortment of - mainly exotic - skins. I don’t know what a karung is, but I inherited an awful lot of its skin in 1990. Similarly, name a subject - bridge, chess, photography, bird watching, windsurfing, whatever. Filofax had commissioned specialist inserts, had tens of thousands printed, and put them into the warehouse. The result, of course, was not only a huge overhang of worthless stock, not only an administrative burden of vast complexity, but also total confusion among our retailers.

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Preserving the self has meant, in my case, making photographs (lots of them) in a conscious attempt to reconcile the conflict between what is and what is not. This vocation has shown me that such reconciliations - to the extent they are even achievable - could never have just happened in my head. What I seem to require instead is the friction of the materially circumscribed activity of photography: an activity that uniquely entangles the actual and the imaginary, and which results in a beguilingly inscrutable product: a new thing in the world that is itself a conditional accord between what is given in the real and what is possible in the mind.

The Hyderabad Baby Studio recognizes that photography is not just about clicking a camera; it's about preserving the emotions, memories, and unique personality of each child. To achieve this, the studio takes a personalized approach to each session. Parents are encouraged to share their vision and ideas, enabling the photographers to tailor the session to their desires. Whether it's a specific theme, a favorite toy, or a particular milestone, the studio ensures that the essence of the child is reflected in every photograph. The final product is not just a collection of images but a narrative of a child's journey, one that parents can revisit and cherish for years to come. In an era marked by the proliferation of digital photography and smartphone cameras, the Hyderabad Baby Studio brings back the importance of professional photography. While anyone can take a picture, professional photographers possess the expertise and equipment necessary to create images that stand the test of time.

The story of the Eridania Basin and the possible scientific promise it holds was pieced together by using the results from different instruments on different spacecraft over many years, spanning several scientific disciplines: geology, chemistry, spectroscopy, laser altitude ranging and photography. The estimate of the age of the surface required the Apollo lunar rock samples from 50 years ago, and radiometric dating techniques which require an understanding of nuclear physics. The estimate of the age of the surface requires a model of the entire Solar System in order to interpret the measured crater density, which illustrates another important idea. The Solar System is a system; no planet is an island; no planet can be understood in isolation, just as the structure of any one living thing on Earth cannot be understood in isolation. Organisms are a product of evolution by natural selection, the interaction of the expression of genetic mutations and mixing with other organisms, in the ecosystem and the wider environment. The planets formed in a chaotic maelstrom from motions as random as the impact of a cosmic ray on a strand of primordial DNA, and whatever worlds emerged from the chaos have had their histories shaped profoundly by their mutual interactions throughout their evolution; the Late Heavy Bombardment is a beautiful example.

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The Doors music has been included in movies and their career has inspired feature films. Chapter 8 - The Doors at The Movies Ray Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder. The first show shot, for what would be later named Feast of Friends, was the April 13th performance at the Santa Rosa Fairgrounds. Overall shooting of the film lasted for five months between March and September, and captured the riots in Cleveland and the Singer Bowl. Filming culminated in Saratoga Springs, New York, where backstage Morrison goofed around on a warm up piano and improvised a hilarious ode to Frederick Nietzsche. After filming started, the concept grew and Feast of Friends was to incorporate fictional scenes (some version of HWY?). But problems started to arise. The live sound, in parts, was unusable so the decision was made to use the album cuts of Doors songs. The budget grew by another $10,000 and the film still wasn’t finished. A decision was made by Ray, Robby and John to pull the plug on the film, but Paul Ferrara appealed to Jim and a compromise was worked out. The fictional scenes would be dropped and another $4,000 was added to the budget to complete the editing. The completed film runs to about thirty-eight minutes and is mostly images taken from different shows, or the band prior to a show. It has some footage of the Singer Bowl riot, which shows the riot in full flower, the stage crowded with policemen and fans. Occasionally, Morrison comes out of nowhere to encourage it all. The centerpiece of the film is The End from the Hollywood Bowl show. The film suffers a bit from not using live sound, the superimposition of album cuts of songs (except the Hollywood Bowl footage) removes the viewer from the immediacy and impact of The Doors. Feast of Friends was later accepted at five major film festivals, including the Atlanta International Film Festival that Frank Lisciandro describes in An Hour For Magic. In later years Feast of Friends was shelved, missing the late 70’s midnight movie circuit showing rock films. In the 80’s with the advent of MTV, Ray Manzarek started producing videos of Doors songs for showing on MTV and they relied heavily on the Feast of Friends footage. Chances are that even if you haven’t seen Feast of Friends you’ve seen a lot of the footage.   Jim Morrison Films HWY The Doors had laid low for just over a month. On March 1, 1969, the ‘Miami Incident’ had occurred, at first with no reaction more than any other Doors show, and the band went off on a prearranged Jamaican vacation in anticipation

The hunt for more dramatic (as they’re often described) images drives the photographic enterprise, and is part of the normality of a culture in which shock has become a leading stimulus of consumption and source of value. “Beauty will be convulsive, or it will not be,” proclaimed André Breton. He called this aesthetic ideal “surrealist,” but in a culture radically revamped by the ascendancy of mercantile values, to ask the images be jarring, clamorous, eye-opening seems like elementary realism as well as good business sense. How else to get attention for one’s product or one’s art? How else to make a dent when there is incessant exposure to images, and overexposure to a handful of images seen again and again? The image as shock and the image as cliché are two aspects of the same presence.

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